New Books In Dance

Twenty-five years ago, The West Wing premiered to great acclaim. This book is a behind-the-scenes look into the creation and legacy of the series, as told by cast members Melissa Fitzgerald and Mary McCormack. The authors help us step back inside the world of President Jed Bartlet’s Oval Office as they reunite the West Wing cast and crew, including series creator Aaron Sorkin and many others, in a lively and colorful “backstage pass” to the timeless series.  From cast member origin stories to the collective cathartic farewell on the show’s final night of filming, What's Next: A Backstage Pass to The West Wing, Its Cast and Crew, and Its Enduring Legacy of Service (Dutton, 2024). includes on-set and off-camera anecdotes that even West Wing superfans (Wingnuts) have never heard. Meanwhile, a deeper analysis of the show’s legacy through American culture, service, government, and civic life underscores how the series envisaged an American politics of decency and honor, creating an aspirational White House beyond

Mainstream portrayals of ultra-Orthodox religious women often frame their faith as oppressive: they are empowered only when they leave their community. For Women and Girls Only: Reshaping Jewish Orthodoxy Through the Arts in the Digital Age (NYU Press, 2024), by Jessica Roda, flips this notion on its head. Drawing on six years of fieldwork between New York and Montreal, Roda examines modern performances on the stage and screen directed by and for ultra-Orthodox women. Their incredibly vibrant Jewish artistic scenes defy stereotypes that paint these women as repressed, reclusive to their shtetl (village), and devoid of creativity and agency. For Women and Girls Only argues that access to technology has completely transformed how ultra-Orthodox women express their way of being religious and that the digital era has enabled them to create an alternative entertainment market outside of the public, male-dominated one. Because expectations surrounding modesty, ultra-Orthodox women do not sing, dance, or act in fron

A close look at the lives of working musicians who aren't the center of their stage. Secret (and not-so-secret) weapons, side-of-the-stagers, rhythm and horn sections, backup singers, accompanists—these and other “band people" are the anonymous but irreplaceable character actors of popular music. Through interviews and incisive cultural critique, writer and musician Franz Nicolay provides a portrait of the musical middle class. Artists talk frankly about their careers and attitudes toward their craft, work environment, and group dynamics, and shed light on how support musicians make sense of the weird combination of friend group, gang, small business consortium, long-term creative collaboration, and chosen family that constitutes a band. Is it more important to be a good hang or a virtuoso player? Do bands work best as democracies or autocracies? How do musicians with children balance their personal and professional lives? How much money is too little? And how does it feel to play on hundreds of records, with

Between 1919 and 1961, pioneering Chinese American actress Anna May Wong established an enduring legacy that encompassed cinema, theatre, radio, and American television. Born in Los Angeles, yet with her US citizenship scrutinised due to the Chinese Exclusion Act, Wong—a defiant misfit—innovated nuanced performances to subvert the racism and sexism that beset her life and career. In To Be an Actress: Labor and Performance in Anna May Wong's Cross-Media World (University of California Press, 2024), Dr. Yiman Wang marshals extraordinary archival research and a multifocal approach to illuminate a lifelong labour of performance, creating critical study of Wong's cross-media and transnational career. Viewing Wong as a performer and worker, not just a star, To Be an Actress adopts a feminist decolonial perspective to speculatively meet her as an interlocutor while inviting a reconsideration of racialized, gendered, and migratory labour as the bedrock of the entertainment industries. This interview was conducted by

This enlightening book reframes the history of hip-hop—and this time, women are given credit for all their trailblazing achievements that have left an undeniable impact on music. First Things First: Hip-Hop Ladies Who Changed the Game (Twelve, 2024), hip-hop is not just the music, and women have played a big role in shaping the way it looks today. First Things First takes readers on a journey through some notable firsts by women in hip-hop history and their importance. Factual firsts like Queen Latifah becoming the first rapper to get a star on the Hollywood Walk of Fame, Lauryn Hill making history as the first rapper to win the coveted Album of the Year Award at the GRAMMYs, April Walker being the first woman to dominate in the hip-hop fashion game, and Da Brat being the first solo woman rapper to have an album go platinum, and metaphorical firsts like Missy Elliott being the first woman rapper to go to the future. (Trust me, she really did.) There are chapters on music legends like Nicki Minaj, Lil’ Kim and

Hollywood is haunted by the ghost of playwright and novelist Oscar Wilde. Wilde in the Dream Factory: Decadence and the American Movies (Oxford University Press, 2024) by Dr. Kate Hext is the story of his haunting, told for the first time. Set within the rich evolving context of how the American entertainment industry became cinema, and how cinema become the movies, it reveals how Wilde helped to shape Hollywood in the early twentieth century. It begins with his 1882 American tour, and traces the ongoing popularity of his plays and novel in the early twentieth century, after his ignominious death. Following the early filmmakers, writers and actors as they headed West in the Hollywood boom, it uncovers how and why they took Wilde's spirit with them. There, in Hollywood, in the early days of silent cinema, Wilde's works were adapted. They were also beginning to define a new kind of style -- a 'Wilde-ish spirit', as Ernst Lubitsch called it -- filtering into the imaginations of Lubitsch himself, as well as Alla

From the time he began recording with the Velvet Underground in the 1960s until his death in 2013, Lou Reed released nearly 50 original albums. In Sweet, Wild and Vicious: Listening to Lou Reed and the Velvet Underground (Trouser Press Books, 2024), Jim Higgins delves into each one, with descriptions, details, analysis and appraisals that will amplify and expand fans' understanding and appreciation of them. This listener's guide is personal as well as definitive, a thoughtful consideration of Reed's entire career from the perspective of a devoted follower able to separate the highs from the lows. Jim Higgins is arts and books editor for the Milwaukee Journal Sentinel and a former pop music and jazz critic for the Milwaukee Sentinel. He is a two-time winner of Wisconsin Area Music Industry award for music journalist of the year and twice won the Sentinel staff-voted award for humor writing. Like Andy Warhol, he is a native of Pittsburgh. Jim on Twitter. Bradley Morgan is a media arts professional in Chicago an

1967: How I Got There and Why I Never Left (Akashic Books, 2024) explores how that pivotal slice of time tastes to a bright, obsessive-compulsive boy who is shipped off to a hothouse academic boarding school as he reaches the age of thirteen--just as Bob Dylan's Highway 61 Revisited starts to bite, and the Beatles's Sgt. Pepper's Lonely Hearts Club Band explodes. When he arrives in January 1966, Robyn Hitchcock is still a boy pining for the comforts of home and his family's loving au pair, Teresa. By December 1967, he's mutated into a 6'2? tall rabid Bob Dylan fan, whose two ambitions in life are to get really high and fly to Nashville. In between--as the hippie revolution blossoms in the world outside--Hitchcock adjusts to the hierarchical, homoerotic world of Winchester, threading a path through teachers with arrested development, some oafish peers, and a sullen old maid--a very English freak show. On the way he befriends a cadre of bat-winged teenage prodigies and meets their local guru, the young Brian En

F*ck The Army! How Soldiers and Civilians Staged the GI Movement to End the Vietnam War (NYU Press, 2024) offers a comprehensive history of the FTA, an antiwar variety show featuring Jane Fonda that played to tens of thousands of active-duty troops over nine months in 1971. From its conception, the civilian-led show was directed towards making visible the growing antiwar movement organized GIs, inspired by but also acting as a rebuttal to the USO tours presented by Bob Hope. Through an analysis of the FTA’s tactical performances of solidarity and resistance, Lindsay Goss brings into view the theatrical dimensions of the GI movement itself, revealing it as representative of the revolutionary and theatrical politics of the period. Dr. Lindsay Goss is a theater historian, artist, and lecturer in English and Theater Studies at the University of Melbourne. Her work explores how popular discourses of authenticity and identity rely upon historical anxieties about the actor in proximity to politics, and how these anx

From the inception of cinema to today’s franchise era, remaking has always been a motor of ongoing film production. Hollywood Remaking: How Film Remakes, Sequels, and Franchises Shape Industry and Culture (U California Press, 2024) challenges the categorical dismissal in film criticism of remakes, sequels, and franchises by probing what these formats really do when they revisit familiar stories.  Kathleen Loock argues that movies from Hollywood’s large-scale system of remaking use serial repetition and variation to constantly negotiate past and present, explore stability and change, and actively shape how the film industry, cinema, and audiences imagine themselves. Far from a simple profit-making exercise, remaking is an inherently dynamic practice situated between the film industry’s economic logic and the cultural imagination. Although remaking developed as a business practice in the United States, this book shows that it also shapes cinematic aesthetics and cultural debates, fosters film-historical knowled

Jewish stars have longed faced pressure to downplay Jewish identity for fear of alienating wider audiences. But unexpectedly, since the 2000s, many millennial Jewish stars have won stellar success while spotlighting (rather than muting) Jewish identity. In Millennial Jewish Stars: Navigating Racial Antisemitism, Masculinity, and White Supremacy (NYU Press, 2024), Jonathan Branfman offers case studies on six top millennial Jewish stars: the biracial rap superstar Drake, comedic rapper Lil Dicky, TV comedy duo Abbi Jacobson and Ilana Glazer, “man-baby” film star Seth Rogen, and chiseled film star Zac Efron. Branfman argues that despite their differences, each star’s success depends on how they navigate racial antisemitism: the historical notion that Jews are physically inferior to Christians. Each star especially navigates racial stigmas about Jewish masculinity―stigmas that depict Jewish men as emasculated, Jewish women as masculinized, and both as sexually perverse. By embracing, deflecting, or satirizing the

In Theater As Data: Computational Journeys Into Theater Research (U Michigan Press, 2021), Miguel Escobar Varela explores the use of computational methods and digital data in theater research. He considers the implications of these new approaches, and explains the roles that statistics and visualizations play. Reflecting on recent debates in the humanities, the author suggests that there are two ways of using data, both of which have a place in theater research. Data-driven methods are closer to the pursuit of verifiable results common in the sciences; and data-assisted methods are closer to the interpretive traditions of the humanities.  The book surveys four major areas within theater scholarship: texts (not only playscripts but also theater reviews and program booklets); relationships (both the links between fictional characters and the collaborative networks of artists and producers); motion (the movement of performers and objects on stage); and locations (the coordinates of performance events, venues, an

In 1967, the US government funded the National Theatre of the Deaf, a groundbreaking rehabilitation initiative employing deaf actors. This project aligned with the postwar belief that transforming bodies, minds, aesthetics, and institutions could liberate disabled Americans from economic reliance on the state, and demonstrated the growing belief that performance could provide job opportunities for people with disabilities.  Disability Works: Performance After Rehabilitation (NYU Press, 2024) offers an original cultural history of disability and performance in modern America, exploring rehabilitation’s competing legacies. The book highlights an unexpected alliance of rehabilitation professionals, deaf teachers, policy makers, disability activists, queer artists, and religious leaders who championed performance’s rehabilitative potential. At the same time, some disabled artists imagined a different political itinerary for theatrical practice. Rather than acquiescing to the terms of productive citizenship, these

Cinema has had a hugely influential role on global culture in the 20th century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial–often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers. In British Cinema: A Very Short Introduction (Oxford UP, 2022), Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the 20th Century. Considering British cinema in the wake of one of the most familiar of cinematic reference points–Alfred Hitchcock–Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language. Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programs in film studies at the graduate and undergraduate level. He has

In his new book, We're Not Here to Entertain: Punk Rock, Ronald Reagan, and the Real Culture War of 1980s America (Oxford UP, 2020), Kevin Mattson documents punk rock in the early 1980s through a comprehensive look into the music, zines, films, bands, and punk Do-It-Yourself (DIY) tactics. He shows how widespread the punk movement was in creating a counterculture that challenged the conservative narrative of 1980s America. Mattson places the punk countercultural movement into the wider context of Reagan’s America and the cultural war that his presidency created. In opposition to Reagan’s panic narratives of nuclear wars, his tax cuts for the rich, and cuts to public education and other social services, punks saw themselves as everything they rejected about the US. Mattson’s extensive archival research into the punk counterculture makes for an informative and captivating read into the larger ways in which punk impacted American cultural identities and challenged 1980s conservativism. Learn more about your ad c

The 'baby boom' generation, born between the 1940s and the 1960s, is often credited with pioneering new and creative ways of relating, doing intimacy and making families. With this cohort now entering mid and later life in Britain, they are also said to be revolutionising the experience of ageing. Are the romantic practices of this 'revolutionary cohort' breaking with tradition and allowing new ways of understanding and doing ageing and relating to emerge? Based on an innovative combination of sensory ethnography in salsa classes and life history interviews, Ageing and New Intimacies: Gender, Sexuality and Temporality in an English Salsa Scene (Manchester UP, 2024) by Dr. Sarah Milton documents the meanings of desire and romance, and 'new' - or renewed - intimacies, among women in mid and later life. Beginning with women at a transition point, when newly single or newly dating in midlife, the chapters look back over life histories to examine prior relationship experiences at different life stages, and look fo

The interview featured an in-depth dialogue about The Theatre of Twenty-First Century Spain (Vernon Press, 2022), a bilingual collection that examines contemporary Spanish theater and its exploration of identity, anxieties and social urgencies. The editors, Helen Freear-Papio and Candyce Crew Leonard, shared their backgrounds, interests in Spanish theater, and the impact of their mentors on their academic careers. The influence of the magazine "Estreno" on the formation and development of theatrical research was highlighted. The book addresses the myriad of complex social immediacies that impact twenty-first-century Spain. Identifying, naming, and belonging lend a sense of rational order and rootedness within specific societies and eras. Yet, that order may collapse, threatening the predictability that ensures stability. As Spain enters its fifth decade as a fully democratic nation, its identity remains unfocused and disorganized, continuing to reckon with its traumatic past. The nine research essays in this

"A woman in trouble" In her monograph Inland Empire (Fireflies Press, 2021), film critic Melissa Anderson explores meaning (or the impossibility thereof) in the David Lynch film of the same title. We talk everything from Laura Dern (a LOT of Laura Dern), to the Hollywood nightmare of trying to "make it in the movies," to the contradictions of film criticism, to the (a)political legacy of Lynch's work. Melissa Anderson is the film editor of 4Columns. From 2015 to 2017, she was the senior film critic for the Village Voice. She is also a frequent contributor to Artforum and Bookforum. Tyler Thier is a faculty member and administrator in the Department of Writing Studies & Rhetoric at Hofstra University. He regularly writes and teaches cultural criticism, and his scholarship is concerned with malicious rhetoric and dangerous media—specifically, extremist manifestos. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.

Grounded in new archival research documenting a significant presence of foreign and racially-marked individuals in Medici Florence, Voice, Slavery, and Race in Seventeenth-Century Florence (Oxford University Press, 2024) by Dr. Emily Wilbourne argues for the relevance of such individuals to the history of Western music and for the importance of sound-particularly musical and vocal sounds-to systems of racial and ethnic difference. Many of the individuals discussed in these pages were subject to enslavement or conditions of unfree labour; some laboured at tasks that were explicitly musical or theatrical, while all intersected with sound and with practices of listening that afforded full personhood only to particular categories of people. Integrating historical detail alongside contemporary performances and musical conventions, this book makes the forceful claim that operatic musical techniques were-from their very inception-imbricated with racialized differences. Dr. Wilbourne offers both a macro and micro app

Soul is one of those concepts that is often evoked, but rarely satisfactorily defined. In The Meaning of Soul: Black Music and Resilience Since the 1960s (Duke University Press 2020), Emily J. Lordi takes on the challenge of explaining “soul,” through a book that zooms in and out between sweeping ideas about suffering and resilience in Black culture and fine-grained, close readings of individual performances by soul musicians. Rather than centering big musical gestures and major popular hits, Lordi pays close attention to musical practices like falsetto, ad-libs, and false endings to ground her analysis. She focuses on artists that are some of the most recognizable Black singers in the United States such as Aretha Franklin, Nina Simone, and James Brown, but she also spends a lot of time with more obscure figures including Donny Hathaway and Minnie Riperton. She ends the book with a powerful contemplation of how the logic of soul, born in the political and social tumult of the late 1960s, still resonates with